DOCSLIB.ORG

The Aesthetics of Unease: Telepresence Art and Hyper-Subjectivity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Aesthetics of Unease: Telepresence Art and Hyper-Subjectivity THE AESTHETICS OF UNEASE: TELEPRESENCE ART AND HYPER-SUBJECTIVITY A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Heather Haden May 2015 Thesis written by Heather Haden B.A., Kent State University, 2010 M.A., Kent State University, 2015 Approved by _____________________________________ Navjotika Kumar, Ph.D., Advisor _____________________________________ Christine Havice, Ph.D., Director, School of Art _____________________________________ John R. Crawford, Ed.D., Dean, College of the Arts ii TABLE OF CONTENTS Page TABLE OF CONTENTS…………………………………………………..………….…..iii LIST OF FIGURES…..…………………………………………………….………….….iv ACKNOWLEDGMENTS…………………………………….………….……………..…x INTRODUCTION…………………………………………………….………….………..1 CHAPTER I. TRIPLE ENTENDRE: PAST IMPRESSIONS, PHANTOM LIMBS, AND SYMBOLIC INTERCHANGE IN HANS BELLMER’S LA POUPÉE………………..………………..……….………….......……21 II. HUMANOID TELEPRESENCE ART INSTALLATIONS AND RECODING THE UNCANNY VALLEY........……………….......……..50 III. THE TECHNOLOGICAL ID AND THE RETRUN OF LE CORPS MORCELÉ………………………………………………………….....….87 IV. HYPER-SUBJECTIVITY: TOWARD A POLITICS OF (DIS)LOCATION AND THE “TEMPTATION BY SPACE”.….….…..123 CONCLUSION………………………...…………………………...…...…….......….…156 FIGURES………………………………………..……………………….........….….….168 REFERENCES………………………………………………………….....……..……...207 iii LIST OF FIGURES Figure Page 1. Hans Bellmer, Plate from La Poupée showing Die Puppe, gelatin silver print, 1936…......…..25 2. Hans Bellmer, La Poupée, Seconde Partie, hand-colored black-and-white photograph, 1936……………………………………………………….……………………………......…..25 3. Hans Bellmer, La Mitrailleuse en état de grâce (The Machine Gun(neress) in a State of Grace), 1937……………………………………………………………………….……....................…25 4. Attributed to Albrecht Durer’s circle, South German articulated dolls, c. 1520-1530.....……..25 5. Hans Bellmer, Poupée: Variations sur le Montage d’une Mineure Articulée (Doll: Variations on the Montage of an Articulated Minor), 18 plates published in Minotaure 6, Winter 1934-35, pp. 30-31………………………………...…………………….................................………….26 6. Hans Bellmer, La Poupée in near-anatomical assemblage, 1935………......…………...……..31 7. Hans Bellmer, La Poupée in a Cephalopod configuration, 1936………….....………………..31 8. William Ely Hill, My wife and my mother-in-law, 1915, adaptation from a German postcard c. 1888………………………………………………...……………………......................……32 9. Hans Bellmer, La Poupée, painted aluminum on brass base, 1936, reconstructed 1965......….33 10. Giuseppe Arcimboldo, The Lady of Good Taste, oil on canvas, 1566……………..….…........33 11. Hans Bellmer, La Poupée, hand-colored vintage gelatin silverprint, 1935.……………...........33 12. Hans Bellmer, Illustration for Oeillades ciselées en branche (Glances Cut on the Branch), 1939………………………………………………………………………...….....…34 13. Joan Jonas, Mirror Piece I, chromogenic print, 1969………………………………….......…35 iv 14. Hans Breder, Body Sculpture (La Ventosa), photograph of performer Ana Mendieta, 1973……………...………………………………………………………………………......…35 15. Hans Bellmer, La Poupée, Cephalopod configuration, 1935……………………………........35 16. Hans Bellmer, Transfert des sens (Transference of the Senses), three-color lithograph, 1949...…………………………………………………………………………..………......…..44 17. Hans Bellmer, The Doll, hand-colored black-and-white photograph, 1935..…..………….......46 18. Ed Hubbard, diagrammatic explanation of the mirror box, 2006………………………….......48 19. Performer roles in telepresence installations using self-view monitors, created by Heather Haden……..………….………………………………………...………...…….......…50 20. Telerobotic mirror imaging within telepresence installations using self-view monitors, created by Heather Haden……………………………………………...………………......…..51 21. Masahiro Mori, The Uncanny Valley Graph, 1970.....…………..……………………......…...52 22. Eduardo Kac and Ed Bennett. The telerobot Ornitorrinco, 1989. Photo by David Yox............54 23. Eduardo Kac and Ed Bennett, detail of the telepresence installation, Ornitorrinco in Copacabana, 1992……………………………………………………..………......…………..58 24. Ken Feingold, detail of where I can see my house from here so we are, 1993-95.......………..60 25. Detail of telerobotic bodies, video still from “Documentation clip of where I can see my house from here so we are, Ken Feingold 1993-94: Documentation of installation at 1995 Interactive Media Festival Los Angeles”………….………………………………........................……….60 26. Installation view of Ken Feingold, where I can see my house from here so we are, 1993-95……………………………………………………………………….....……….....….61 v 27. Installation view, video still from “Documentation clip of where I can see my house from here so we are, Ken Feingold 1993-94: Documentation of installation at 1995 Interactive Media Festival Los Angeles”………………………………………………………….................…....61 28. Telerobot vantage point, video still from “Documentation clip of where I can see my house from here so we are, Ken Feingold 1993-94: Documentation of installation at 1995 Interactive Media Festival Los Angeles”………………………………………………........................…..61 29. Teleoperator vantage point, video still from “Documentation clip of where I can see my house from here so we are, Ken Feingold 1993-94: Documentation of installation at 1995 Interactive Media Festival Los Angeles”………………………………...………........................…….......62 30. Eduardo Kac, RC Robot, built by Cristovão Batista da Silva, 1986……...…………......……..70 31. RC Robot at the exhibition, “Brasil High-Tech” at the Galeria de Arte do Centro Empresarial Rio, in Rio de Janeiro, 1986......………………………………………..........................……....71 32. Otávio Donasci, VideoCriatura (VideoCreature), c. 1984…………………………….....……72 33. Lynn Hershman Leeson, CyberRoberta, 1995-98…………………………………….....…….79 34. Lynn Hershman Leeson, CyberRoberta, installation view at the Henry Gallery, Seattle, 2005.….……...………………………………………………………………………......…..…79 35. Lynn Hershman Leeson, diagram for Tillie’s webcam eyes, iris print, 1997…...….....….……80 36. Lynn Hershman Leeson, Tillie and CyberRoberta, remote website view showing Tillie’s mirror image and surrounding installation at Henry Gallery, Seattle, 2005………....……..................80 37. Lynn Hershman Leeson, Masked Roberta, Roberta Breitmore Series, 1973-1979……......…..81 38. Kit Galloway and Sherrie Rabinowitz, Hole in Space, Los Angeles and New York, November 11, 13, and 14, 1980…………………………………………………………............................94 vi 39. Video still of Day 1 of Hole in Space, from documentary by Kit Galloway and Sherrie Rabinowitz, 1980…………………………………………………………………......………..96 40. Video still of Day 2 of Hole in Space, from documentary by Kit Galloway and Sherrie Rabinowitz, 1980…………………………………………………………………......………..98 41. Video still of Day 3 of Hole in Space, from documentary by Kit Galloway and Sherrie Rabinowitz, 1980………………………………………………………………….........…….101 42. Schematic rendering of the setup of Paul Sermon, Telematic Vision, (1993-) at one location, adapted by Rolf Wolfensberger from an illustration on the artist’s website…........................105 43. Installation view of location 1 of Paul Sermon, Telematic Dreaming (1993-) at the Museum of Communication (Berne, Switzerland), photo by Brigitte Lustenberger, 2007….......…....105 44. Installation view of location 2 of Paul Sermon, Telematic Dreaming (1993-) at the Museum of Communication (Berne, Switzerland), photo by Brigitte Lustenberger, 2007.…...............105 45. Paul Sermon, Telematic Vision (1993-), diagram by Rolf Wolfensberger……......……….....106 46. Paul Sermon, Telematic Vision (1993-), wiring diagram of Telematic Vision by Rolf Wolfensberger, Museum of Communication (Berne, Switzerland), 2008……….....……..…106 47. Paul Sermon, Telematic Vision (1993-). Installation view during the temporary exhibition If – Wunschwelten der Kommunikation at Kornhaus Forum (Berne, Switzerland), 2000……107 48. Video still from documentary footage of the exhibition Imagining Media at ZKM (Karlsruhe, Germany), Paul Sermon, Telematic Vision, 2009………………………….........................…107 49. Video still from documentary footage of the exhibition Imagining Media at ZKM (Karlsruhe, Germany), Paul Sermon, Telematic Vision, 2009……………….........................……………107 50. Paul Sermon, Telematic Dreaming, 1993..………………………......…………………...…..115 51. Felix Gonzalez-Torres, Untitled, 1991…………………………….....………………………116 vii 52. Susan Kozel, Phenomenological research/performance with Telematic Dreaming, 1994…………………………………………………………………......…………………….117 53. Paul Sermon, Telematic Dreaming, 1993…………………………………..……......……….118 54. John C. Portman Jr., Bonaventure Hotel, Los Angeles, 1976, photograph by Heather Haden, August 31, 2013.………………..………………………………......……….128 55. Detail of the exterior, John C. Portman Jr., Bonaventure Hotel, Los Angeles, 1976, photograph by Heather Haden, August 31, 2013…………………………………….........................……128 56. Detail of exterior with elevator, John C. Portman Jr., Bonaventure Hotel, Los Angeles, 1976, photograph by Heather Haden, August 31, 2013…..……………………................………....128 57. Detail of interior lobby with elevator, John C. Portman Jr., Bonaventure Hotel, Los Angeles, 1976, photograph by Heather Haden, August 31, 2013…..………….....................….………128 58. Frank Gehry Residence, Santa Monica, photograph by Heather Haden, August 31, 2013………………………………………………………………......…………………....….130 59. Detail, Frank Gehry Residence, Santa Monica, photograph by Heather Haden, August
Load more

Recommended publications
  • About the Contributors
    254 About the Contributors Dew Harrison is a Professor of Digital Media Art and works as the Associate Dean for Research and Postgraduate Study at the University of Wolverhampton, School of Art and Design, where she is also the Director of CADRE, Centre for Art, Design, Research, and Experimentation. She is a research- er and practitioner with a BA in Fine Art, an MA in Contemporary Art Theory, an MSc in Computer Science, and a PhD from the Planetary Collegium, CAiiA, in Interactive Art. Her practice undertakes a critical exploration of conceptual art, semantic media, and intuitive interfaces where she often works collaboratively and considers virtual curation a form of art practice. She continues to show her work internationally; most recently, two of her Digital Action Painting series were exhibited at the Centre for Contemporary Art in Poland, and has over 50 publications to date spanning digital art, consciousness studies, interactive games, art history, and museology. * * * Rina Arya is the Reader in Visual Communication at the University of Wolverhampton. Her research interests are interdisciplinary and include art theory and cultural studies. Her most recent monograph is Francis Bacon: Painting in a Godless World (Farnham, 2012). Forthcoming publications include Chila Kumari Burman: A Celebration of Shakti (KT Press) and Abjection and Representation (Palgrave Macmillan). Judith Aston was a pioneer in the emergent multimedia industry of the mid-1980s, working on projects with Apple Computing, the BBC Interactive Television Unit, and Virgin Publishing. Holding an MA in Social Science from the University of Cambridge, she went on to study for a PhD in Visual Anthropology and Computer-Related Design at the Royal College of Art, which she completed in 2003.
    [Show full text]
  • The Art Show 2018 Press
    DOWNLOAD HI-RES IMAGES AT: HTTP://BIT.LY/2EVIOWJ THE ART SHOW 2018 HIGHLIGHTS 303 GALLERY D8 ALTMAN SIEGEL D20 Mary Heilmann Liam Everett 303 Gallery presents a solo exhibition of Altman Siegel presents a solo booth of new works by Mary Heilmann, whose highly work by Liam Everett. Building on investiga- inventive approach to abstraction has tions explored in his 2017 solo exhibition at made her one of the foremost painters SFMOMA, Everett will present a suite of new of her generation. Recent paintings, glazed paintings that unfold interrelated systems and ceramics and an arrangement of furniture made interpretations of support. Everett’s installation by the artist appear alongside several examples will continue along these investigative threads: in these mediums from previous decades. By jux- the physical act of supporting a painting and taposing new works with historic ones, the exhibition the routine practice an artist undertakes daily, becomes a storyboard, charting the evolution of her as well as pedagogical rituals shaped through practice while allowing visitors to draw parallels across rehearsal. Focused on what he calls “systems time periods. Brightly colored chairs transform the booth of support,” Everett’s framed paintings—like into a social space akin to a living room or the artist’s studio, previous bodies of work—will implicate the floor, inviting viewers to relax and spend time in Heilmann’s world. wall and body, exposing the animate qualities of 1 3 the artworks and affirming his interest in investi- Mary Heilmann. Shadow Cup 2, 1985. Glazed ceramic, 21 ⁄4 × 24 × 1 ⁄4 in. © Mary Heilmann.
    [Show full text]
  • Fractals and the Chaos Game
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln MAT Exam Expository Papers Math in the Middle Institute Partnership 7-2006 Fractals and the Chaos Game Stacie Lefler University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/mathmidexppap Part of the Science and Mathematics Education Commons Lefler, Stacie, "Fractals and the Chaos Game" (2006). MAT Exam Expository Papers. 24. https://digitalcommons.unl.edu/mathmidexppap/24 This Article is brought to you for free and open access by the Math in the Middle Institute Partnership at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in MAT Exam Expository Papers by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Fractals and the Chaos Game Expository Paper Stacie Lefler In partial fulfillment of the requirements for the Master of Arts in Teaching with a Specialization in the Teaching of Middle Level Mathematics in the Department of Mathematics. David Fowler, Advisor July 2006 Lefler – MAT Expository Paper - 1 1 Fractals and the Chaos Game A. Fractal History The idea of fractals is relatively new, but their roots date back to 19 th century mathematics. A fractal is a mathematically generated pattern that is reproducible at any magnification or reduction and the reproduction looks just like the original, or at least has a similar structure. Georg Cantor (1845-1918) founded set theory and introduced the concept of infinite numbers with his discovery of cardinal numbers. He gave examples of subsets of the real line with unusual properties. These Cantor sets are now recognized as fractals, with the most famous being the Cantor Square .
    [Show full text]
  • The Electric Mirror: Reflecting on Video Art in the 1970S
    Robyn Farrell The Electric Mirror: Reflecting on Video Art in the 1970s In 1978, artist and filmmaker Lynn to say that television was the sole The desire to experiment with the Hershman Leeson wrote that, “Much antecedent of video art, but rather electronic and visual capabilities of the urgency and inspiration of art a critical relative to the developing of television dates back to 1963 video emanates from various types of medium. Representing the first with Nam June Paik’s first televisual commercial television broadcasting.”1 generation that grew up with television, manipulation in The Exposition of Included in Gregory Battock’s the artists included in this program Electronic Music-Electronic Television critical anthology, New Artists Video, were keenly aware of a viewer’s social at Galerie Parnass in Wuppertal, West Hershman Leeson’s essay “Reflections and psychological experience while Germany. Paik’s motivation to utilize on the Electric Mirror” identified TV watching TV. Their collective works the monitor and screen as a means genres that influenced video artists, encompass the interests of this “TV to assault the image provided the and declared video as “a manifestation generation,” and at the same time, the aesthetic framework for practitioners of contemporary art.”2 She went on post-war, post-pop proclivities of a in the following decade. Works in to describe video as “the extracted changing art landscape that ranged this program operate in this vein, film of television,” and pointed to the from minimal representation and illustrating how one could change a relations between the nascent medium captured action, to technophilic inquiry viewer’s perception through video and television as inextricably linked, and appropriation.
    [Show full text]
  • Blast-Zone Hiking Raptor Viewing Wild Streaking
    High Country ForN people whoews care about the West March 6, 2017 | $5 | Vol. 49 No. 4 | www.hcn.org 49 No. | $5 Vol. March 6, 2017 Raptor Viewing Blast-Zone Hiking Wild Streaking CONTENTS High Country News Editor’s note EXECUTIVE DIRECTOR/PUBLISHER Paul Larmer MANAGING EDITOR There and back again Brian Calvert SENIOR EDITOR Many years ago, I traveled Jodi Peterson abroad for the first time, to ART DIRECTOR visit a high school friend from Cindy Wehling DEPUTY EDITOR, DIGITAL Rock Springs, Wyoming, who Kate Schimel had been stationed by the U.S. ASSOCIATE EDITORS Tay Wiles, Army in Germany. On that trip, Maya L. Kapoor I nearly froze to death in the ASSISTANT EDITOR Paige Blankenbuehler Bavarian Alps, lost my passport D.C. CORRESPONDENT at a train station, and fell briefly in love with a Elizabeth Shogren woman I met in a Munich park. I spent the next WRITERS ON THE RANGE two decades traveling, as a student and journalist, EDITOR Betsy Marston learning about other places and people in an effort ASSOCIATE DESIGNER Brooke Warren to better understand myself. COPY EDITOR Every year, High Country News puts together Diane Sylvain a special travel issue. We do this because, in the CONTRIBUTING EDITORS Cally Carswell, Sarah pages of a typical issue, we are primarily concerned Gilman, Ruxandra Guidi, with the facts and forces that shape the American Glenn Nelson, West: the landscapes, water, people and wildlife Michelle Nijhuis, that make this region unique. In most stories, we try Jonathan Thompson FEATURES CORRESPONDENTS our best to serve as experienced guides, bringing Krista Langlois, Sarah our readers useful analysis and insight.
    [Show full text]
  • Course Schedule Feminist
    Art 305 Women in Art/ WGS 488 Senior Sem. Covid Dr. Christine Filippone Email: [email protected] (Please do not reply to emails I send you through D2L. I may not receive them.) T/Th. 2:25-3:40, W. 12:55-3:00 and 4:15-4:40 Advising link: https://millersville.zoom.us/j/3146969526 Link to Register for the course to receive your Zoom meeting link: Lectures: T/Th 305.01: 1:10-2:25: Zoom: https://millersville.zoom.us/meeting/register/tJcvcOmvrT8vH9KvqTrT6RT1_fnZ M8d-M2wl Lectures: T/Th 305.02: 3:40-4:55 p.m. Zoom: https://millersville.zoom.us/meeting/register/tJIucuugpjstE9Ttjfu2ujfGpJYL6Ir6r SAk Lecture Power Points are available on Desire2Learn. The syllabus, detailed description of the paper, and readings are also posted to Desire2Learn. *Every class is recorded Course Description This course will address the relationships between gender and the visual arts, with an emphasis on art and culture since World War II. This class explores the role of the visual in constructing ideas of “woman” and how women artists have addressed these constructions in their works and in their lives. Students will critically examine the ways Western culture has defined art and artists in gendered terms and will extend this study to contemporary art practice with attention to intersectionality and difference. Through weekly readings, class discussions, written assignments, and oral presentations, students will consider how gender is relevant to the creation and study of art and culture. Important to this course are the relationships between art and critical/literary theory, including feminism (obviously), Marxism, psychoanalysis, post-modernism, and theories of race and gender, all of which radically altered the perception as well as practice of art over the past century and a half.
    [Show full text]
  • SF/SF #146! 1!November 2013 Science Fiction / San Francisco
    Science Fiction/San Francisco Issue 146 November 2013 Connie Willis Virginia City Lightsaber Class Japantown Anime Festival Stark Nova SF Mermaids Swim Hallow Be Thy Game Renaissance Faire SF/SF #146! 1!November 2013 Science Fiction / San Francisco Issue 146 Editor-in-Chief: Jean Martin October 30, 2013 Managing Editor: Christopher Erickson email: [email protected] Compositor: Tom Becker Contents Editorial ......................................................................................Christopher Erickson.............. ........................................................................................ 3 Interview with Connie Willis ....................................................Jean Martin............................. Photo by Jean Martin .....................................................5 The 3rd Annual Virginia City..................................................... Cpt. Archibald ‘Lucky’ Peddycord Victorian Steampunk Ball ................................................................................................... Photos by Scott London and Art Koch......................... 12 Learn to use the Force: Lightsaber class .................................Christopher Erickson.............. Photos by Christopher Erickson................................... 15 Japantown Anime Festival ........................................................Robbie Pleasant...................... Photos by Robbie Pleasant........................................... 19 Interview with Chris Mark, Author of “Stark Nova” ............Yvette
    [Show full text]
  • Open Interactivity: a Model for Audience Agency
    IAFOR Journal of Cultural Studies Volume 3 – Issue 1 – Spring 2018 Open Interactivity: A Model for Audience Agency Charlotte Gould School of Art, University of Brighton, UK Abstract: Artists have increasingly acknowledged the role of the audience as collaborators both in the construction of meaning (Bathes, 1977), through subjective experience (Dewey, 1934) and in contributing to the creative act by externalising the work. (Duchamp) Lucy Lippard identifies 1966–72 as a period where artists turned increasingly towards the audience, representing a “dematerialization of the art object” (Lippard, 1997) through “Happenings” and “Fluxus” movements. Digital media has facilitated this trajectory, implicit in the interactive computer interface (Manovich, 2005), but interactivity per se may offer no more than a series of choices put forward by the artist (Daniels, 2011). Interactivity represents interplay between artist and audience (Dinka, 1996) and is potentially a process of audience empowerment to offer agency, defined as real and creative choice (Browning, 1964). Public screen installation “Peoples Screen” Guangzhou, linking China to Perth Australia (Sermon & Gould, 2015) offered a partnership between artist and audience to co-create content though playful narratives and active engagement in a drama that unfolds using improvisation and play. Initially visitors enjoy observing the self on the screen but audiences quickly start to interact with the environment and other participants. Immersed in play they lose a sense of the self (Callois, 2011) and enter a virtual third space where possibilities for creativity and direction of play are limitless. The self becomes an avatar where the audience can inhabit “the other” thereby exploring alternative realities through ludic play, promoting tolerance and empathy and developing collective memory.
    [Show full text]
  • Night Papers V on the Labyrinthitis Stuff By: —Joanna Fiduccia State of Curating Aaron Wrinkle • Brad Phillips • I
    LOS ANGELES | 2014 NIGHT GALLERY | 2276 E . 16TH ST. NIGHT PAPERS V ON THE LABYRINTHITIS STUFF BY: —JOANNA FIDUCCIA STATE OF CURATING AARON WRINKLE • BRAD PHILLIPS • I. RADIO HOUR M. CAY CASTAGNETTO • TODAY P6. JPW3 • coutez... Faites silence. Robert Desnos bids you listen — BOB NICKAS & ALLANA DEL RAY SAMANTHA COHEN • and be still, for the evening of Fantômas is beginning. It ZACH HARRIS • is November 3, 1933, and your rhapsode is as far away & MORE Eand near at hand as any voice on the radio — in this case, Radio Paris, which has marshaled its resources to present Desnos’s I MAY BE CRAZY BUT I’M NOT STUPID “Complainte de Fantômas.” A lyrical account of the crimes of the — JOHNNIE JUNGLEGUTS vagabond Fantômas, scheduled to coincide with the release of a P12. new episode in the popular series by Marcel Allain and Pierre Souvestre, Desnos’s poem is an advertisement with an outsize avant-garde pedigree (Kurt Weill composed the background music; Antonin Artaud directed and read the role of Fantômas) that would induct him into minor radio personality fame. The poet had been initiated into the blind art some three years earlier by a young entrepreneur and radio enthusiast by the name of Paul Deharme. Deharme, perhaps more than any of the other lapsed Surrealists that would follow in his path, was devoted to the radio’s novel artistic possibilities. In March 1928, he published “Proposition pour un art radiophonique,” a strangely matter-of-fact manifesto on the potentials of this new “wireless art,” combining a semi-digested Freud with a list of techniques to produce visions in the listener — the use of the present indicative, background music, adherence to chronology, and so forth.
    [Show full text]
  • Intimate Discoveries: Nature and Poetry in the Art of Mayme Kratz by Julie Sasse, Curator of Contemporary Art Tucson Museum of Art May, 2002
    Intimate Discoveries: Nature and Poetry in the Art of Mayme Kratz by Julie Sasse, Curator of Contemporary Art Tucson Museum of Art May, 2002 When French philosopher Gaston Bachelard wrote The Poetics of Space (1958), an investigation of space, poetry and metaphor, he stimulated a new awareness of external and internal environments by using poetry to illustrate how such realms can be articulated. His seminal work subsequently influenced countless visual artists to explore art and poetics in new and profound ways. Fascinated by both nature and poetry, Mayme Kratz has fashioned cast resin sculpture and two-dimensional works that provide an intimate look at the external world and the internal world with poetic grace and grandeur. Her art, capturing the essence of the interconnectedness of nature and space and the creative spirit, is at once haunting and beautiful. Of course, exalting nature through art is not a new development in America. In the 1800s, for example, the Hudson River School artists portrayed nature in all its sublime splendor as a means of nourishing the soul. The use of visual, abstracted expressions of nature, however, is a later phenomenon, examined well by John Baur of the Whitney Museum of American Art. In 1958 he organized an exhibition, “Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in Twentieth-Century American Art,” which included fifty-seven artists. Ranging from Louise Bourgeois, Louise Nevelson, and Helen Frankenthaler to Philip Guston, Hans Hoffman and Willem deKooning, these artists appear to have been chosen more for their abstraction than for their conscious examination of the essence of nature.
    [Show full text]
  • Sermon | the Neural String Network: an Interactive Collaborative Drawing ‘Machine’
    425 Sermon | The Neural String Network: An interactive collaborative drawing ‘machine’ Biographical Data - - versity of Salford, School of Art & Design. Born in Oxford, Received an MFA from the Department of Fine Art at the University of Reading, England in 1991. Awarded the Prix - 1993 to 1999 employed as Dozent for Media Art at the HGB Academy of Visual Arts in Leipzig, Germany. From 1997 to 2001 employed as Guest Professor for Performance and Environment at the University of Art & Design Linz, Austria. Since June 2000 based at the University of Salford working telematic environments. 426 427 Abstract network, allowing participants to experience a shared creative process, using the principles of open-source and social networked communication through an to introduce participants to the idea of collaborative-shared drawing practice, as (Barthes 1967) whereby each participant plays an equal role as both viewer and piece of Haiku poetry, the drawing participants contribute marks, signs and signi- space measuring eight by eight metres square. Each node is linked to the other four via pulleys and washing lines, making it possible to peg a sheet of A4 paper to a a pentagon neural network design. Representing the interconnected synapses and neurons of the brain, the role of each participant is that of cause and effect. A single instruction initiates a series of consequences that unfold in drawings, marks and patterns that are created whilst being hoisted simultaneously across the room communicated as a drawing by a collective consciousness.
    [Show full text]
  • AMELIA G. JONES Robert A
    Last updated 4-15-16 AMELIA G. JONES Robert A. Day Professor of Art & Design Vice Dean of Critical Studies Roski School of Art and Design University of Southern California 850 West 37th Street, Watt Hall 117B Los Angeles, CA 90089 USA m: 213-393-0545 [email protected], [email protected] EDUCATION: UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty in modernism, contemporary art, film, and feminist theory; minor in critical theory. Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.” UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.” HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983. Honors thesis on American Impressionism. EMPLOYMENT: 2014-present UNIVERSITY OF SOUTHERN CALIFORNIA, Roski School of Art and Design, Los Angeles. Robert A. Day Professor of Art & Design and Vice Dean of Critical Studies. 2010-2014 McGILL UNIVERSITY, Art History & Communication Studies (AHCS) Department. Professor and Grierson Chair in Visual Culture. 2010-2014 Graduate Program Director for Art History (2010-13) and for AHCS (2013ff). 2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies. Professor and Pilkington Chair. 2004-2006 Subject Head (Department Chair). 2007-2009 Postgraduate Coordinator (Graduate Program Director). 1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of Art History. 1999ff: Professor of Twentieth-Century Art and Theory. 1993-2003 Graduate Program Director for Art History. 1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and Adviser. Designed and taught two graduate seminars: Contemporary Art; Feminism and Visual Practice.
    [Show full text]